Highlights: Clock Winder, Krakow, North Atlantic, Ashes
Two things got me
interested in this album (other than my considerable admiration for Hauschka’s
piano playing), the achingly beautiful “Krakow” heard almost by chance and the
song title “Godot” (subject of my literary research for several years now). Was
all worth it in the end – Silfra is
not always an easy listen, sometimes its artsy minimalism gets a little trying,
but overall this album is an outstanding piece of modern classical music.
As is clearly seen
above, Silfra is a collaboration
between Hauschka (whose Ferndorf
should be in everyone’s collection) and the violinist Hilary Hahn. Moody, neurotic,
Satie-like piano is countered by some of the most gorgeous, odd and just plain
harrowing sounds a violin can produce. The album is really about evocative
soundscapes that go from euphoria to despair. My personal favourites are the
brief, beguiling gems like “Krakow” and “Ashes” that lovingly remind you of
Satie’s timeless “Gnossienne” pieces. As far as my lame, completely unnecessary
complaints go, I’d mention that occasionally they get so carried away with
their unnerving, atmospheric passages that you start missing Hauschka’s piano
playing. However, the way it suddenly emerges from under screeching, clattering
noises is absolutely magical.
Part ambient, part
classical, Silfra is the sort of
album that manages to be both challenging (the almost 13-minute “Godot” in
particular can be quite unsettling) and understated. Which is one of the best
things modern classical music can do.
8/10
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